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[Table] IAmA: Hi, I’m Brian Tinsman: Veteran game designer for Magic: the Gathering and many other games. Current War of the Fallen design director. AMA!”
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|How do you approach designing a specific color for magic? How does that approach differ when designing an entire era of cards? What impact, or influences do previous generations of cards have on your decisions as a designer? How important is the "professional" scene regarding overall design in magic? Do you find that the fictional universe surrounding your cards has an impact on how you design? If so, how much weight is it given?||There are a lot of good questions here. Designing for a certain color: A lot of Magic design builds on the deep 20-year history of each of the colors. The goal is to find the right balance between new and familiar. The first stage is to put together a rough skeleton for each color, with empty slots for each color and rarity. This makes you decide how many lands, mythics, etc. your set will have. Then you decide what each color's new twist is going to be. For example, in Scars of Mirrodin, only green and black got infect, but blue got to interact with poison counters once they were on the board. Players really like seeing twists on old favorites and it's actually quite rare to come up with a mechanic that's totally new. When this happens it has to go through many layers of vetting and playtesting before it's published. WotC has a team of about a dozen Magic pros who spend 6 months or more playtesting to get it polished as much as possible.|
|Why did you make blue the most fun to play in MTG?||That's a matter of opinion of course, but blue has historically been the strongest color in older formats like Legacy. I think blue's character of manipulating the meta-rules of the game like deck manipulation, card draw, and countering are the hardest parts of the game to balance and there have been more overpowered cards in those areas over time. Note that the design team has been improving this issue a lot. You tend to see really good power balance between colors these days and you don't see powerful un-fun strategies like Stasis or land destruction.|
|What inspired you to work with games?||I had the game designer's curse, which is the affliction of thinking about game design all the time. I was designing Magic cards for fun during graduate business school lectures.|
|When I first started at WotC I was managing marketing research and other business stuff. I decided to be bold and walk into the office of the head of design (Bill Rose) and show him the design work I'd done in my spare time. He politely waved me off and said no thanks. Here's the critical turning point in my career: I didn't walk out of there, I said "Tell me why." He later took the time to print out my work with correction in red pen all over it. I studied this feedback intently and returned with another proposal. After a few times through this routine he put me on a design team and my work turned out to be very successful. So the short answer is I was into it and I was persistent.|
|When you create a new 'something' - how do you judge giving it power? How do you manage not upsetting the balance between all the weapons, people, animals, etc etc and their powers with new pieces. Are you ever tempted to put a God Sword or something that, if ever found, would make someone all powerful...just for giggles?||Costing and balancing happen relatively late in the design process. You can break design into 4 stages: System design, system development, set design, set development. In system design you are asking questions like "what are the basic player stats? How do you earn XP?" in system development you are adjusting and polishing those numbers "What should the starting health be? How much XP should it take to reach level 2?" In set design you are figuring out the content of monsters and items "How many kinds of flyers are there? What are the basic weapon types?" In set development you are balancing unit stats "How many HP should this dragon have? How much mana should this spell cost?" Having god items make the game un-fun pretty quickly, and when we come across them we nerf them fast. In playtesting Magic we would often change card stats mid-game so it was a crazy way to play.|
|Why is Ken Nagle always locking his trumpet in Ivory Tower? I can't remember the number of times I had to help him break into that meeting room to recover his brass.||Lol, who is this? johoso is referring to an incident in WotC R&D where Magic designer and musician Ken Nagle saw that his trumpet was missing and reported the theft.|
|After much investigation it turned out to have been misplaced in one of our conference rooms named Ivory Tower. Thus the tradition of harassing him about the incident has now spread to the hallowed halls of Reddit.|
|When someone comes to you with an elevator pitch for a game, what do you look for? What do you look for from the presentor? Have you ever started a project or helped start a new game?||I want to know that the person understands who the game is for and what experience the player is seeking in this kind of game.|
|I want a good fit between theme and mechanics. I want the right mix of familiar and new. Too much newness and players won't know what to make of it. Not enough newness and they won't see the point.|
|If the category has a lot of competition, the product usually needs a hook, or something that makes it memorable. Almost all pitching is about storytelling. In the venture capital world they advise you to tell a memorable story. Build a narrative in the audience's mind about how this game is going to succeed in the marketplace.|
|If the presenter has had any successful products that kicks them up a level or two in credibility. Public speaking and presenting skills really do make a difference.|
|I've started lots of projects. The Maple Story iTCG, the Curses Board Game, and a CCG called Angel Quest are a few.|
|Your board game book is rather old in internet years, do you think there have been any radical changes to the landscape in the last 5 years (kickstarter, print on demand) that makes self publishing easier than it previously was? Do you think staying 'indie' to promote your own brand and use your own tone when talking to your customers is worth trading away the distribution power of a larger publisher?||Hey, it's my friend Andrew of horse/duck fame!|
|Andrew is referencing my book the Game Inventor's Guidebook which discusses how to get board games published.|
|Yes, great point. Because of Kickstarter and print-on-demand it's now much less risky to self-publish than it has been in the past. Previously you needed to outlay 20k to even get started in self publishing. The flip side is that it's now harder than ever to get distribution and mindshare with all the competition out there. I like staying indie if you have the time and energy to devote to a startup. It's not something you can do very well a few hours a week. There are lots of indies that are successful but eventually they reach a hard decision whether to start hiring people and quit their day job. With publishers your chance of success is probably lower but so is your risk, effort, and reward.|
|Another MTG question.||Yeah those stories don't usually get put on the internet because it's easy to make your colleague look like a jerk. In a good company there's enough professional respect not to name names. That said, there have definitely been times when two sides are trying to build political support for their own view and someone suddenly switches sides. That person is then viewed as having great integrity or backstabbing disloyalty depending on your point of view.|
|We usually get to read about when the design team worked together harmoniously to get a set out. What were the times like when people on the design team were opposed about different cards/mechanics? Do certain designers usually win out? Is there a mechanic or card design that you feel like you really wanted to get out, but just didn't happen?||I had several mechanics that I tried to get in for months but were killed for specious reasons (in my opinion.) I don't want to post them here though since I believe they are still property of WotC through the terms of my employment.|
|How did you get on the path of game design as a career? Where did you start? How many years had you had experience with drawing before you were hired by Magic?||I started by building relationships with people I knew in the industry. I went to school in Seattle partly because I knew there were a lot of game companies there. My undergrad major (anthropology) has actually been ranked dead last in employability, but I got an MBA and the anthro/business education turned out to be a massive combo in understanding why and how people seek out fun in games. Above all, I kept designing games on my own. It didn't matter whether they would ever get published. I just enjoyed making them. No matter who you are, your first dozen games will be terrible. Make them and get them out of the way now so you can get to the good ones.|
|Hey Brian. You've been a really inspirational person in my career and I enjoyed working with you. How do you find your previous work at WotC influencing your work at Zynga?||Thanks for the props, mystery colleague. Zynga hired me mainly because they wanted to bring some of that deep game play strategy to their games. Since I've been here they've started a new division called 'Mid-core' which are essentially a bridge between hardcore and casual games. There are a lot of players who love hardcore games like Magic, League of Legends, and WoW, but don't have time or space in their lives to really devote themselves. The goal is to build some high quality games that give some of the fun of hardcore games without the big time investment. That's one of the goals of our latest game War of the Fallen.|
|If you were starting out in game design today, would you try to work for an established company, or make your own game independently? If the latter, how would you pay the bills during your game's development process?||Work for a company. It's worth it to have steady income and benefits. Plus you get exposure to lots of other talented people to learn from and network. I think there's a little truth to the idea that it's about who you know, but you can actually go out and get to know the right people if you care to. If you are going to start your own company you probably want some experience and connections under your belt.|
|What is your favorite MtG card? And my buddy built a drafting cube, want to come by sometime and draft with us?||My favorite is Mind's Desire because it provides so much excitement and drama. Sometimes it flops, other times it's amazing. You can also see this love of dramatic moments in the Miracles from Avacyn Restored.|
|Did you work on Magic the Gathering: 2013 for xbox arcade?||The lead guy on that one I believe was Joe Huber, a great designer who reported to me at the beginning of that game's development. So I didn't ever directly touch it. Joe is a guy who exemplifies success in the games industry with brute force creativity and persistence. No degree in computers/games, but he kept building relationships and adding value to every team he touched until he made himself indispensable.|
|Besides a few people that have been around a while, it feels like there's a lot of turnover in the people that work on Magic. Is this just the nature of the industry? Is it something about the culture at Wizards? Is it something about the intensity required to make Magic?||I don't get that impression. I'm not sure what the average turnover rate at a game company is, but I think WotC's is relatively low. The core people like Bill Rose, Mark Rosewater, Aaron Forsythe, and Brady Dommermuth have all been there something like 12 years or more.|
|Question:(MTG) Did you ever get a practical reason why land destruction as an archtype will never return to the game? What are your thoughts about MTG these days? Do you still play it?||Yeah, strategies that outright stop opponents from being able to play most of their cards generate enough frustration and anger that the've been de-powered. You used to see viable tournament decks based on land destruction, discard, untap denial or prison, and really strong permission (counterspells.) Everyone ends up having a better time if they can mostly just play their damn cards.|
|I still play Magic, though not every day like I used to. I love draft and EDH and I try to keep up with Legacy a bit.|
|On your website it says you worked on games like ChefVille and Party Place. Wondering what the biggest difference between designing for those types of games vs. more serious/strategic games? How do you find passion to design for those when you're so rooted in MTG?||Designing games for gamers is like a hard but straightforward path. They have super high standards and there's always a push to do something that's a little better than last time. The great thing is that gamers know it's worth it to learn how to play, so they will stick around long enough to absorb all the complexity.|
|You obviously have a ton of experience so at Zynga are you allowed to pick and choose the games you work on or is it given to you?||Designing for casual players is much less straightforward. A lot of those players only sorta maybe want to play a game in the first place so you have to hit them with as much fun as you can up front and hope that's enough to keep them interested enough to learn the rules. We spend a ton of time experimenting with ways to ramp up player interest. This is a less-well understood area of design so the best practices here are still inchoate.|
|What has been the best moment of your career so far?||A few great moments: I got to playtest my board game Curses! with Magic greats Richard Garfield and Mark Rosewater. It went on to be very successful. Going to Pro Tour Puerto Rico for Rise of the Eldrazi where players wanted me to autograph their cards. My wife got to come with me and we had a great time there. I wanted to work on Zynga's Mid-core team but my family was moving to Austin, which seemed like a deal-breaker. My boss said "I don't care. I want you on the team anyway." That made me feel really valued. Probably the very best though has been lying in bed or sitting in a coffee shop daydreaming of a new creature idea or game mechanic and then seeing it released and people playing with it shortly after. That's what happened with Guild Force in War of the Fallen and it's just amazing to me how an idea can jump out of your head and people will start having fun with it just like you imagined.|
|Would you rather fight 100 duck-sized horses or 1 horse-sized duck?||100 duck-sized horses. It seems like they might be vulnerable to a jumping, stomping strategy.|
|My friend and Zynga alum Andrew Pellerano actually helped make a video game about this on Kongregate. Super Duck Punch if I recall.|
|Power creep is an issue that exists in all games, i'm of the opinion that it has gotten kind of bad in Magic... but what do you think about that?||I think it's a well-crafted illusion. Power creep isn't currently a bad problem. You can actually verify this for yourself if you take a look at winning Modern and Legacy deck lists on Star City Games and see what proportion of those cards are from recent sets. WotC is good at making the latest release seem very powerful without upsetting the long term balance.|
|In regards to Zynga's general design strategy, energy for certain actions that regenerates over time or can be bought with in-app purchases, do you feel like this is limiting the appeal of the games? It certainly adds what I guess you could call replay value, but I feel that it makes all of Zynga's games that I've encountered feel exploitative. Are there any other techniques to add replay value without having to open the app, do 30 seconds of tapping, and repeat 30 minutes later?||Yeah, I agree that from one perspective the energy mechanic seems like an unnecessary limitation, but it's hard to argue with success. Lots of games that use it do very well. Energy does help make money but it also helps act as a signal that it's time to do something else in the game, which helps guide the player to a more diverse and therefore less boring play session.|
|I agree that I'd love to see more mechanics that accomplish the same thing in more natural ways, and Zynga does have many mobile games that do this well. The bottom line is that the game marketplace is very Darwinian. The mechanics which are successful tend to spread rapidly.|
|In your opinion what is the single most powerful card with all things considered and your extensive knowledge of balance/cost factors.||The most powerful Magic card is Black Lotus.|
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